"Opera" is an Italian word (short for "opera in musica"), however it was not commonly used in Italy (or indeed in other countries) to refer to the genre of particular works. Most composers used more precise designations to present their work to the public. Often specific genres of opera were commissioned by theatres or patrons (in which case the form of the work might deviate more or less from the genre norm, depending on the inclination of the composer). Opera genres are not exclusive. Some operas are regarded as belonging to several.

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music (1981).

"The Photographer is a chamber opera by composer Philip Glass that is based on the homicide trial of photographer Eadweard Muybridge. The opera is based on words drawn from the trial as well as Muybridge's letters to his wife. Commissioned by the Holland Festival, the opera was first performed in 1982 at the Royal Palace in Amsterdam."

The form of this work consists of three acts: a play with incidental music, a concert accompanying a slideshow of Muybridge's work, and a dance with musical accompaniment. In total, the piece lasts about 90 minutes.

Act IAct I is a play that includes three incidental pieces of music that fit into the play. The play recounts Muybridge's murder of Major Harry Larkyns and the trial, with an irreverent tone. The incidental piece "A Gentleman's Honor", includes words drawn from the actual trial transcript, commentary, and Muybridge's letters. It draws on the incident in which Flora sent Larkyns a portrait of Muybridge's son Florado, seeming to imply that Larkyns could be the father ('Whose baby is this'), and draws on the commentary of spectators ('All that white hair and a long white beard'), as well as referencing Muybridge's carriage accident and his later motion studies ('Horses in the air '). The phrases 'Artificial moonlight' and 'Artificial sky' may refer to techniques used by Muybridge in his landscape technology (overlaying clouds onto his images). Glass notes that he originally conceived the text of A Gentleman's Honor as based on a poem by Muybridge called "Circles", but Glass reconsidered and asked David Byrne to use material from the trial itself, as well as Muybridge's letters.

Act IIAct II is a violin solo, or "concert", that either features a figure representing Muybridge in the darkroom in the background or a slideshow of images by Muybridge. Critics have compared the see-saw sounds of the solo violin to a hoe-down or "early American" sound, although Glass claims this analogy was not necessarily intentional.

Act IIIIn Act III, the characters from Act I return for a dance (including Muybridge, Flora, Larkyns, and Victorian bystanders). In some productions, the dance features photographs "developed" in the second half".

(42 Minutes, 24 Seconds)​"Philip Glass - The Photographer!"From (kademan13) of YouTube, Published on November 23, 2012

Based on Oscar Wilde's dramatic adaptation of the biblical story, Richard Strauss' tale of Salome's disturbing obsession with John the Baptist is brought to life by San Diego Opera. Series: "San Diego Opera Spotlight"

The fabled "Lisbon Traviata" with Alfredo Kraus (Alfredo), and Mario Sereni (Giorgio), conducted by Franco Ghione, live performance, March 27, 1958. (In 1958 in January there was her also famous walk-out at the Rome Opera...)

São Carlos de Lisboa... all was swept aside by the go-for-broke intensity of Callas' Violetta. In the midst of all that mediocrity was this vivid portrayal of the brave, angry, feverish Violetta created by Callas. Listen to the letter scene (1:40:13) and "Addio del passato", also the "Alfredo, Alfredo" (1:26:49) using floating pianissimi... tearfull pianissimi... It's like conducting the orchestra herself.

Act 1The salon in Violetta's house (0:04:15). Violetta throws a lavish party at her Paris salon to celebrate her recovery from an illness. Alfredo agrees to sing a drinking song (Libiamo ne' lieti calici, 0:09:34). From the next room, the sound of the orchestra is heard and the guests move there to dance. Alfredo enters and expresses his concern for her fragile health, later declaring his love for her (Un dì, felice, eterea, 0:15:07).After the guests leave, Violetta wonders if Alfredo could actually be the one in her life (Ah, fors'è lui, 0:21:52). But she concludes that she needs freedom to live her life (Sempre libera, 0:27:32)...

Act 2 Violetta's country house outside Paris (0:31:40). Three months later, Alfredo and Violetta are living together (Alfredo: De' miei bollenti spiriti, 0:33:36). Alfredo's father, Giorgio, demands that she break off her relationship with his son for the sake of his family, since he reveals that Violetta's relationship with Alfredo has threatened his daughter's engagement (Pura siccome un angelo, 0:40:22) because of Violetta's reputation. With growing remorse, she finally agrees (Dite alla giovine sì bella e pura, 0:47:42). As she is writing a farewell letter to Alfredo, he enters. She can barely control her sadness and tears (Amami, Alfredo, 0:57:43). Giorgio returns and attempts to comfort his son (Di Provenza il mar, 1:03:56), but Alfredo rushes out...

Party at Flora's house (1:08:56). Flora calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelle, 1:10:04; Di Madride noi siam mattadori, 1:12:54). Violetta arrives with Baron Douphol. As everyone is leaving the room, Violetta has asked Alfredo to see her. Alfredo misunderstands her apprehension and demands that she admit that she loves the Baron. In grief, she makes that admission and, furiously, Alfredo calls the guests to witness what he has to say (Questa donna conoscete?, 1:22:49). She faints onto the floor. Giorgio enters the hall (Di sprezzo degno sè stesso rende, 1:24:49). Violetta turns to Alfredo (Alfredo, Alfredo...1:26:49).

Act 3​Violetta's bedroom (1:31:28). Violetta will not live long since her tuberculosis has worsened. Alone in her room, she reads a letter from Alfredo's father (Teneste la promessa, 1:40:12), but she senses it is too late (Addio, del passato, 1:42:11). The lovers are reunited and Alfredo suggests that they leave Paris (Parigi, o cara, noi lasceremo, 1:47:48). She knows her time is up (Gran Dio!...morir sì giovane, 1:53:52). A moment later, she dies in Alfredo's arms.